Pro Se Anthologies now available

Hungry

A little blatant self promotion – but if you love wild fast-paced hair-raising pulp adventure these anthologies from Pro Se Press, Pulse Fiction and Rat-A-Tat, are well worth a look – and while I am clearly spruiking my own work, let me assure you that the other stories in these collections – scribed by some first class pulpsters – are great little tales.

You can find them both at Amazon.

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Pro Se Anthologies now available

Overcoming: The Nature of Heroes

Eagle 200Hands up if you have heard of ‘The Eagle’. Not many people have. Counter espionage agent, Jeff Shannon – known as ‘The Eagle’ was a pulp character from the late 1930’s / early 1940’s. He didn’t really take off – only appearing in a handful of stories – but recently he has been revived for The New Adventures of the Eagle, a title from Pro Se and Altus Press’ Pulp Obscura line.

Intrigued, I read the book, which contains six new Eagle adventures. It was a fine collection of stories, but one really stood out for me, “The Coming Storm”, written by Teel James Glenn.

Anyway, Teel and I got a talkin’ – and I ended up asking him if he would like to do a guest post on P2K to talk about his latest project The First Synn: The Bloodstone Confidential. But he decided to take a different approach. You can read it below. Take it away, Teel…

* * *

When David Foster, maestro of P2K, extended the invitation for me to write a guest blog, I thought long and hard about what I wanted to say to a new group of readers. At my height, I don’t really have to get on a soapbox to make a point, but I thought it a good opportunity for a virtual one.

Rather than talk specifically about the hero, Gideon Synn, in my new series from Pro Se, the first of which is The First Synn: The Bloodstone Confidential, I thought I would talk about the concept of what it is to be a hero.

The concept of heroes has been greatly distorted in our present world; in today’s society thugs who can run fast with a ball are prized above educators, artists, scientists or healers. Celebrity and infamy have supplanted famous and deserving of admiration for far too long.
I felt compelled to write about what it is to really be a hero in a literary sense.

True, sports stars have always been admired as achievers of the near impossible – at least to most – but in past societies that status was linked to good citizenship, ethics and a sense that their skills – however hard they worked to hone them – were somehow a gift of a higher power to be shared, not a skill to be exploited at the cost of others.

Along with this distortion of what it is to be a hero has come a rise in the of the status of the bad guys – the anti-hero and villain – to the status of hero.

True, some of that came from a series we all love, The James Bond books and films. In them, of course, Bond is the knight without armor, fighting for the right by using the methods of the bad guys. He has a license to kill, to womanize and to drink to excess – yet he is clearly the good guy. He does these things because he is a flawed and many faceted human being but there is absolutely no mistaking that he is working for the good. Rosa Klebb, Hugo Drax, Auric Goldfinger, Blofeld and Scaramanga are the baddies for sure. No attempt to excuse or sympathize with them happens – to understand them, yes, but not to make the reader agree with them. They are villains, plain and simple.

There is a school of thought that says villains are more interesting than heroes; that Dracula is more fascinating than Van Helsing, Butch Cavendish more intriguing than The Lone Ranger or the Joker more delightful for the audience to spend time with than Batman.

I say no; resoundingly NO!

I say that if a reader finds a man who kills, maims and then laughs about it more satisfying than one who tries to prevent said mayhem they are flawed beyond recovery or the writer has failed in his/her job in presenting the charters in context.

No villain should remain unexplained, it is true, but that does not excuse their villainy, just humanize the monster to make him more understandable and his connection to the hero more tangible. All drama is, ultimately some sort of morality play, after all.

With this raise in the villains’ status has come corresponding devaluation of the hero, claiming them to be grey and boring.

What has allowed this mistaken image of heroes as bland, uninteresting cardboard cut outs, this complete reversal of all that holds society together?

Was it the Hayes Code that demanded such flawless heroes that they could not be human and strive to overcome human failings? The church groups who refused to acknowledge their own base doctrines, which talk about the very need for flawed humans to try for the godhead as a daily goal? Did they ignore the fact that few of the holy writings of any religion talk of unblemished existence as a norm – it is always a daily goal to be worked for, our human nature to be overcome?

Perhaps all three reasons – and others – connected to create this general decline in personal responsibility and self-awareness.

When fire happens and a building is engulfed, who is truly more interesting to spend time with; the giggling psycho who lit the fire and watches a ten year old burn to death or a normal healthy and fearful person who, despite the danger and possibility of their own destruction runs toward the fire?

Think hard – your answer could get you committed.

But seriously folks: a protagonist might delight in a child’s death – and if it were a horror story be the person we follow through the story to its conclusion, but the hero is always the person running to try and save the child.

And here in lies some of the problem; people mistake hero for protagonist and vice versa far too often.

Hannibal Lecture was a sick SOB who ate people and delighted in other’s suffering; he wasn’t the ‘hero’ of Silence of the Lambs – or even Hannibal the sequel; he was the protagonist.

In the first book (I have problems with the sequel even having been written/filmed but that’s just me), Clarice is the heroic figure but not an unflawed or bland character. She has a complex of failings and weaknesses that she strives to overcome and that is what makes her a hero.

She overcomes.

Websters defines hero as: A: a mythological or legendary figure often of divine descent endowed with great strength or ability. B: An illustrious warrior. C: a man admired for his achievements and noble qualities. D: the Principle male character in a literary or dramatic work.

A hero does not sweep in and, with no problems or questions about what he/she does, solve all that must be solved – if he did it would be the blank and flat line boring that far too many people think a hero is. No, conflict is the essence of all drama and so it must be with a hero as well. Inner conflict is as important-perhaps more so than storming the castle is the reason why it is stormed!

A hero must have something at stake and something to overcome or it is not drama.

People who favor the ‘anti-hero’ concept that was popularized with such furor in the 1960’s cinema because film critics (don’t get me started on that jaded group) had decided that role models were passé – forget that it was not a new concept and is based on a faulty assumption.

Hercules of classical myth (definition A) is a hero because he overcomes his own personal faults. He is really an anti-hero by that very modern definition. He is a drunk, he kills his family in a fit of madness and spends a guilt-ridden life trying to make up for that. Not a bland fellow at all. But he tries to do good, and that is the thing that makes him a hero (definition C). In fact, in a ‘Hollywood’ happy ending, his good works get him elevated to demi-god hood!

The faulty assumption is that heroes just do what they do and are not affected; but in fact they have to take what Joseph Campbell called ‘the Hero’s Journey’ – moving from point A to their end point in a story and growing or evolving in someway or, by definition they are not heroes. Heroes doubt, have their moment of weakness, their ‘human’ moment just as villains, to be fully human, must have theirs. (Hitler was good to his dogs, the original Blackbeard was Joan of Arc’s sidekick and protector and Dracula was a patriot for his homeland before he became a human mosquito).

As a writer I feel obligated to connect with those human portions of both sides of the moral wall or I feel I’m cheating my readers and not doing my job of presenting a ‘complete’ world for them to journey to. Yet for me, I really don’t want to spend more time with unpleasant people than I have to. My rule of thumb is, would I want to spend a ten-minute elevator ride with any given character, say Blofeld, Lecter or Dracula? No. Then why spend more time with them on the page than I have to?

This brings us to definition D.

I confess, my criteria are narrow by some definitions but it’s my party, I’ll smile if I want to … or something like that.

At the same time, nobody, including me likes a stuffed shirt’ and I don’t want my heroes to be that way either. Thus, while I may want them to be a hero, I need them to be flawed so I, a flawed human, can connect with them. Like Bond, who is about as flawed as they come, a hero does not have to be a church deacon, but, I feel, he has to be trying to be, to some extent.

I still want them to be better than me; more able to withstand temptation, more able to endure pain etc. because else, why am I reading about them? But just enough so that I can believe and connect with them.

And I want my villains to be less than me, expressing the darkness I fear either externally or in some dark corner of my own soul that I want to conquer.

And this may be where I differ from much of the world at large; I do not delight in seeing people worse off than me as a way to make myself feel superior. (No, I do not watch Japanese game shows to see people get pasted!)

And that may be why those aforementioned critics liked so-called anti-heroes. Maybe in their mind, following the adventures of rapists, killers and perverts that they made their ‘heroes’ has made them feel better about being flawed.

Me, I’d rather look up to the heavens than down in the mud even though I never forget that even the demi-gods have to stand in that mud.

How about you?

About the Author

BloodstoneTeel James Glenn has written on theater, stunts and swashbuckling related subject matter for national magazines like: Aces, Black Belt, Echoes, and Fantastic Worlds of E.R.B. and fiction for MAD, Weird Tales, Peculiar Stories, Pro Se Presents, Fantasy Tales, Afterburns, Another Realm Blazing Adventures!, Tales of Old and other magazines.

He has 30 books in print including The First Synn: The Bloodstone Confidential and a story in The New Adventures of the Eagle, both from Pro Se Productions.

He received the Pulp Ark Award for best author in 2012.
You can keep up on his adventures at theurbanswashbuckler.com.

Overcoming: The Nature of Heroes

From Pro Se With Love

ProSe 500

It’s no secret I have written a few adrenaline-fuelled stories for Pro Se Productions, which will be unleashed on the un-suspecting world in the coming months, stretching into next year. Some of the stories I can’t talk about yet – loose lips sink ships – but among them, for an exciting new project called Pulse Fiction, (brainchild of Paul Bishop and Tommy Hancock) is a rattling adventure story, “Honor of the Legion”. Believe me, if you read and enjoyed Fight Card: Rumble in the Jungle (and why wouldn’t you), this story is gonna blow your socks off!

Anyway, as an introduction and a welcome to Pro Se, the following piece crossed my desk from writer I.A. Watson. As I read it, I was grinning from ear to ear and had to share it. Here it is, a day in the life of a writer at Pro Se Productions. Thanks Ian.

So I walk into the offices of Pro Se Productions, toss my hat across the room onto the hatstand, and smile raffishly at the bespectacled-but-beautiful brunette behind the secretary’s desk.

“Ian,” she gasps, flushing slightly. “I didn’t know you were back from Marrakech.”

“Just this morning, doll,” I tell her. I nod my head towards the inner door. “How’s the Old Man? Any idea what he called me in for this time?”

“Sorry, Ian. You know how it works. I can’t give you anything.” Then she blushes properly.

I perch on the edge of her desk, pushing aside proof copies of Hugh Monn P.I.: Catch a Rising Star, leaning forward to give her my best slantways grin. “C’mon, toots. I’ve been away. What’d I miss?”

“The usual,” she relents. “Black Pulp came out. Did pretty well. The Old Man stopped drinking for a whole afternoon. Nancy Hansen’s recovering nicely after the damage she sustained researching The Hunters of Greenwood. She’ll be back on solid foods any day now, and the book was worth it. A new issue of Pro Se Presents, a volume of Pulptress stories… Barry Reece turned in Lazarus Gray: Eidolon, which turned out pretty good even though it was all written on the back of blood-stained wanted posters. Nothing unusual though.”

There’s a rumbling from the inner office. “Is that Watson?” comes the rough deep tones of Pro Se Production’s EIC. “Send him in. If he tries to run, staple him to a desk.”

“H will see you now,” the brunette tells me. “Good luck, Ian.”

I shoot her a wink and saunter past the big framed cover-shots of Jim Anthony, Super-Detective, Brother Bones, and Torahg the Warrior, through the frosted-glazed door with the “Abandon All Hope” sign thumbtacked to the threshold, into the dark cavern beyond.

It all comes back to me: the sour whiskey smell, the stacks of manuscripts daggered to the table, the wall-trophies that I strongly suspected were body parts of writers who’d missed deadlines. I’d been here before. I’d survived.

And there, positioned so the light slatted across his face and shadowed his eyes, the man himself: Tommy Hancock, watching me, assessing, plotting.

“Welcome back, English,” he tells me. “How’d it go?”

“It’s taken care of.”

“The whole thing?”

I toss a thick manuscript down in front of him. “65,128 words, 35 essays on weird stuff and writing. I call it Where Stories Dwell. Satisfied?”

He leans forward to thumb through the document. The shadows move with him, still keeping his face covered. “Maybe. I’ll let you know.”

“What next?”

I know there’ll be an assignment – something tough and obscure, probably dangerous and painful. The Old Man had handed me Richard Knight, the flyboy detective, to put together “The Hostage Academy” for The New Adventures of Richard Knight volume 1, “The Last Flight of Captain Tennyson” for volume 2, and “The Plague God Laughs” for some other top-secret project I wasn’t even cleared to know about. He’d called me for the title story of The New Adventures of Armless O’Neil: Blood-Price of the Missionary’s Gold, which had taken me to the heart of darkness in the Belgian Congo. I’d had to delve into dark supernatural doings about “The Curse of Urania” for the weird mystic investigator Semi-Dual. Last time it had been a flirtation with superhero girlfriends in “He Died”, a short story for another of Pro Se’s mysterious projects.

Whatever H wanted, it wouldn’t be run of the mill. And it would hurt.

Hancock pushes a grainy black and white photo across to me. “Know him?”

I look at the image. Shock-haired guy, devil-beard, spectacles, stab-you-if-you-say-the-wrong-thing glint in his eye. “That’s David Foster,” I reply. “Except he calls himself James Hopwood when he’s taking care of business. There’s a list of the stuff he’s done on his blog site Permission to Kill. I link to it off my author website.”

“Right. Well he wants some Pro Se stuff on that blog. Not just adverts. Proper articles. Features.”

“He wants something from me?”

“I want something from you, Watson. Something interesting. Something novel. And I want product placement. Make sure you work in Pro Se titles – like Jason Kahn’s Badge of Lies, or Senorita Scorpion, or The Family Grace, all available from http://prose-press.com/pro-se-store/, or through online retailers, and from those bookstores where I’ve got compromising pictures of the operators. Got it?”

I fold the photo into my pocket. “Any rules?” I check. “Any limits?”

“Are there ever?” H snarls at me. “Get it done.”

A slow smile creeps across my face. “Whatever it takes, boss.”

I.A. Watson is a freelance writer operating out of Yorkshire, England. He’s authored four award-shortlisted novels and a whole load of short stories, all described at his website http://www.chillwater.org.uk/writing/iawatsonhome.htm. He’s not claiming that Tommy Hancock is really like he’s depicted in the piece here; after all, he knows where the bodies are buried.

Watson

From Pro Se With Love

Pro Se Podcast – featuring Aaron Smith 'Nobody Dies For Free'

PRO SE PRESENTS: THE PODCAST – Author Aaron Smith!

This week on Pro Se Presents: The Podcast, Tommy Hancock welcomes Aaron Smith, long time Pulp Author with Pro Se as well as other companies. Aaron discusses his most recent title from Pro Se, the spy thriller NOBODY DIES FOR FREE as well as his influences for the book and what intrigues him about the spy genre! Also, Aaron discusses future plans for one of Pro Se’s long time and most liked characters, Aaron’s own Lieutenant Picard! This and much more as Pro Se Presents: The Podcast welcomes Author Aaron Smith!

Click here to listen.

Pro Se Podcast – featuring Aaron Smith 'Nobody Dies For Free'

Nobody Dies For Free

Pro Se Press enters the spy arena with their latest release, Nobody Dies For Free, written by Aaron Smith.

In NOBODY DIES FOR FREE, Richard Monroe wants nothing more than early retirement and a peaceful life in Paris with the only woman he’s ever truly loved after years of loyally serving his country in the CIA. But when an assassin’s bullet takes his happiness away, Monroe embarks on a quest to find the man responsible for the tragedy. Monroe is soon recruited back into the clandestine services, but with a difference.

I am a big fan of the ‘Retiree’ spy story. Forgive me, as I talk about films for a moment – but I figure most visitors to this site are more familiar with filmland’s spies rather than the myriad of novels that share the same themes.

To me, there are two variations on the retiree spy story. The first and most obvious variation is where the old retired masterspy is called back into action for one final mission because he has a skill set that is essential to the successful completion of the mission. There are a whole swag of films like this, such as Firefox with Clint Eastwood, or even the Matt Helm films with Dean Martin. In the Helm films, Dino has retired and wants to be left alone with his camera and coterie of dolly birds, but somehow gets dragged back into the action time and time again. The mini-series, Icon based on Frederick Forsyth’s book, with Patrick Swayze also trots out the formula once again. Swayze’s character is called out of retirement because of his knowledge of antiquated biological agents.

The second variation, which could almost be called the ‘messed with the wrong guy’ spy film, usually features a band of villains picking on a person or group of civilians (often a family). It just so happens that these people have been befriended by or related to a retired bad-ass spy. To the villains, the spy just seems like an old codger (or a nobody), but we know, despite the wrinkles, this guy is a lethal weapon. If the plot device sounds familiar, it is. The 1987 film, Malone, starring Burt Reynolds is essentially an updated version of the classic western, Shane. Television shows in particular have latched onto this style of story, with Man In A Suitcase, The Equalizer, and even Burn Notice featuring agents who have been ‘retired’ from active duty, and now spend their time helping out average Joes with their problems. On a more personal level, both Belly Of The Beast with Steven Seagal and Taken with Liam Neeson feature stories where they play retired spies, but their daughters have been foolishly kidnapped by evil doers. Once this happens the gloves are off, and the old retired spy is once again up to his usual tricks doing everything possible to get their loved one back. As you’d expect with this kind of storyline, generally these films tend to play more like a revenge flick and have a tendency to be rather violent.

But Nobody Dies For Free appears to be something different – a mixture of the two styles.

Now a lone agent reporting to a supervisor so mysterious that the official agencies don’t even know he exists, Monroe will deal with situations too delicate and too dangerous for the CIA or FBI to handle. On his first assignment, he discovers a connection between the mission and the criminal mastermind behind his wife’s killing. Business becomes personal again and Richard Monroe sets out to teach his enemies a brutal lesson: Nobody Dies For Free.

I am looking forward to reading this one. It seems just like my cup of tea. Below is full the press release from Pro Se.

* * * * *

Intrigue, Espionage, and Danger are primary parts of one of the most enduring genres in modern fiction to date- the Spy Novel. And now Pro Se Productions, a leading independent publisher of Genre Fiction and New Pulp enters into this dynamic field with the latest work from noted author Aaron Smith- NOBODY DIES FOR FREE!

Known for his thirty published stories in multiple genres as well as his work with a wide range of characters, including Sherlock Holmes and Allan Quatermain, Smith adds one of his many own original characters to his writing resume- Richard Monroe.

“I first became aware of the spy genre,” Smith states, “as I suspect many people did, through the James Bond movies. I must have been six or seven when I saw my first one. I became a big fan of those movies and eventually of Ian Fleming’s Bond novels too. As the years went on, I came to enjoy other spy fiction as well, some as fun and occasionally over-the-top as Bond or Mission: Impossible, some much more serious, like the novels of John Le Carre, and some in-between the two extremes, stuff like the Jason Bourne movies. Having long had an interest in that type of story, I suppose it was inevitable that I’d eventually write my own.”

In NOBODY DIES FOR FREE, Richard Monroe wants nothing more than early retirement and a peaceful life in Paris with the only woman he’s ever truly loved after years of loyally serving his country in the CIA. But when an assassin’s bullet takes his happiness away, Monroe embarks on a quest to find the man responsible for the tragedy. Monroe is soon recruited back into the clandestine services, but with a difference.

Now a lone agent reporting to a supervisor so mysterious that the official agencies don’t even know he exists, Monroe will deal with situations too delicate and too dangerous for the CIA or FBI to handle. On his first assignment, he discovers a connection between the mission and the criminal mastermind behind his wife’s killing. Business becomes personal again and Richard Monroe sets out to teach his enemies a brutal lesson: Nobody Dies For Free.

Featuring a stunning cover by Ariane Soares with Fitztown and formatting and design by Sean Ali as well as Ebook formatting by Russ Anderson, NOBODY DIES FOR FREE presents a brand new spy to fiction that, while bearing similarities to other literary brethren, clearly stands on his own merits.

According to Smith, “He has certain similarities to James Bond and many other fictional spies: he’s handsome, brave, sneaky, ruthless, and enjoys the company of beautiful women. But he’s his own person too. He rarely uses clever gadgets and is more likely to rely on just his wits, his gun, his car, and a cell phone. He’s American, though his personality has also been shaped by the time he’s spent in many parts of the world. He doesn’t work for a large organization like the CIA or FBI, although he used to. Now he’s much more a solo agent, taking on missions too secret or sensitive for the more official agencies.”

NOBODY DIES FOR FREE is available via Pro Se’s own store, at Amazon, and through Barnes and Noble in print for $15.00!

Smith’s Spy Novel is also available as an ebook for only $2.99 for Kindle, on the Nook, and for most other digital formats at Smashwords!

NOBODY DIES FOR FREE by Aaron Smith from Pro Se Productions! Available now!

Find more about Smith and his other work at http://www.godsandgalaxies.blogspot.com

Pro Se Productions- http://www.prose-press.com

Nobody Dies For Free

Charles Boeckman Presents Johnny Nickle

A press release from the good people at Pro Se Press.

* * *

It isn’t often in the modern market that a Publisher gets the opportunity to work with the characters of a Pulp Writer from the Classic era of Pulp Fiction with the involvement of the author. Pro Se Productions, a leading Publisher of cutting edge Genre Fiction both looking to the future and firmly rooted to the past, proudly announces the debut of a new imprint bringing new life to characters created by prolific Pulp Author Charles Boeckman!

“CHARLES BOECKMAN PRESENTS…” states Tommy Hancock, Partner in and Editor in Chief of Pro Se Productions, “came from the source itself, honestly. Charles Boeckman, now 92 years old, was a writer of many stories back in the heyday of Pulp and beyond, mostly suspense/mystery and western tales. Due to his publishing of a collection of his mystery stories, I became aware of his work and absolutely fell in love with the characters he created. Not only were the stories taut and exciting, but the characters, all of them just appearing the one time, so many of them had series potential. So, an email or three later to Charles and his wonderful wife, Patti, and I asked about his permission to have modern writers take on some of the characters he’d written into life. He was enthusiastic and encouraging and now we have the debut of CHARLES BOECKMAN PRESENTS JOHNNY NICKLE!”

Originally appearing in Boeckman’s story, ‘Run, Cat, Run,’ Johnny Nickle was a trumpet player on the run from his own past. And now, in CHARLES BOECKMAN PRESENTS JOHNNY NICKLE, this unlikely hero makes a return engagement to perform TWO exciting new hits. NOTES IN THE FOG written by Richard White and THE DEVIL YOU KNOW authored by Brad Mengel push Johnny into mystery and out of it hopefully on a high note.

“This character,” Hancock explained, “is neat on several levels. A sort of sub genre that is very popular among Pulp and Crime fans is that of the Musician Detective/Hero, usually a Jazz type, like Jack Webb’s Pete Kelly. Mr. Boeckman’s work is replete with these sorts of characters and each one stands apart, no cardboard cutouts. Johnny has an edge to him in the original story that both of our authors have maintained, utilizing the rich background Johnny has a trumpet player as well as his own personal background. It’s even more wonderful that Mr. Boeckman is a professional Jazz Musician and band leader as well, so the original stories come with an authenticity that definitely influenced Richard and Brad.”

CHARLES BOECKMAN PRESENTS JOHNNY NICKLE features a fantastic cover by Adam Shaw as well as cover design and print formatting by Sean Ali and ebook formatting by Russ Anderson! Edited by David White, these two tales are your backstage pass to see Charles Boeckman’s Johnny Nickle tackle mystery and murder with a soundtrack that cooks with red hot women, ice cold killers, triple time thrills and smokin’ jazz! From Pro Se Productions!

CHARLES BOECKMAN PRESENTS JOHNNY NICKLE is available from Pro Se’s own store and at Amazon for $8.00! Available for $2.99 for the Kindle at http://www.Amazon.com , the Nook at http://www.barnesandnoble.com, and in other formats at http://www.smashwords.com!

For more information concerning Pro Se Productions, go to http://www.pulpmachine.blogspot.com and http://www.prose-press.com.

Charles Boeckman Presents Johnny Nickle

Black Pulp

Here’s a press-release from the good folks at Pro Se, regarding their latest release, Black Pulp. I guess what makes this interesting is that the tales are in the style of the Golden Age of Pulp, rather than a pastiche of ’60s and ’70s Blaxploitation Pulp.

* * * *

Pro Se Productions, a Publisher known for balancing tales harkening back to classic pulp fiction with stories pushing the boundaries of modern genre fiction, continues its publishing of books that do both. Pro Se proudly announces the debut of BLACK PULP, a collection featuring the works of various authors, including bestsellers Walter Mosley and Joe R. Lansdale.

BLACK PULP is an anthology of original stories featuring black characters in leading roles in stories running the genre gamut. Pulp fiction of the early 20th century rarely — from Doc Savage, Black Mask to the Shadow — if ever, focused on characters of color. The handful of black characters in these stories were typically portrayed stereotypically. BLACK PULP brings some of today’s best authors together with up and coming writers to craft stories of adventure, mystery, and more — all with black characters in the forefront.

Co-editor of BLACK PULP, crime novelist Gary Phillips observed, “While revisionism is not history, as the films Django Unchained and 42 attest, nonetheless historical matters find their way into popular fiction. This is certainly the case with New Pulp as it handles such issues as race with a modern take, even though stories can be set in a retro context.”

Black Pulp offers exciting tales of derring-do from larger-than-life heroes and heroines; aviators in sky battles, lords of the jungle, pirates battling slavers and the walking dead, gadget-wielding soldiers-of-fortune saving the world to mystics fighting for justice in other worlds.

“The title is indeed BLACK PULP,” Pro Se Productions publisher and Black Pulp co-editor Tommy Hancock, “but these stories appeal to all. All of the basic needs for a story to touch a reader are there, including emotion, action, relevance, and more. To see all of that in a Pulp story funneled through characters that got the short shrift in terms of appropriate treatment in classic Pulp is definitely something worth sharing.”

BLACK PULP also features a new essay on the nature of Pulp, both classic and modern, by award winning bestselling author Walter Mosley.

The other writers contributing original works to the anthology are: two-time Shamus award winner Gar Anthony Haywood, two time Pulitzer finalist Kimberly Richardson, Dixon Medal winner Christopher Chambers, critically acclaimed novelist Mel Odom, hip-hop chronicler Michael Gonzales, and award winning leading New Pulp writers Ron Fortier, D. Alan Lewis, Derrick Ferguson, Charles Saunders, Tommy Hancock, and Chester Himes award winner Phillips. This collection also features a classic story by Joe R. Lansdale, winner of the Edgar Allan Poe award, and multiple Bram Stoker awards.

BLACK PULP is available now from Amazon and via Pro Se’s own store at Createspace. Coming soon in digital format to Kindle, Nook, and more!

With a pulse pounding original cover by artist Adam Shaw and stunning cover design by Sean Ali, BLACK PULP delivers hair raising action and two fisted adventure out of both barrels!

Black Pulp